Podcasts about Red Earth

Last time we spoke about autumn battle of Changsha. In late September and early October 1941, the Chinese commander Chen Cheng focused on Yichang, a crucial Yangtze stronghold whose loss would threaten China's position and the approach toward Chongqing. Chen Cheng's plan tightened a ring around the city while Chinese forces blocked Japanese reinforcement routes, including efforts to cut retreat lines at places like Jingmen and Dangyang. The battle's pressure was intensified by shifting momentum elsewhere. As the Japanese situation around Changsha became unstable—strained by supplies, exhaustion, and mounting casualties—the Japanese command began to withdraw north. Chiang Kai-shek used this to accelerate Chinese priorities, ordering rapid capture of Yichang within a tight deadline. Inside Yichang, the defense turned tragic as Japanese troops faced encirclement, heavy artillery barrages, and desperate street fighting.    #213 Blood, Rain, and Flags: The Last Struggle Around Yichang Welcome to the Fall and Rise of China Podcast, I am your dutiful host Craig Watson. But, before we start I want to also remind you this podcast is only made possible through the efforts of Kings and Generals over at Youtube. Perhaps you want to learn more about the history of Asia? Kings and Generals have an assortment of episodes on history of asia and much more  so go give them a look over on Youtube. So please subscribe to Kings and Generals over at Youtube and to continue helping us produce this content please check out www.patreon.com/kingsandgenerals. If you are still hungry for some more history related content, over on my channel, the Pacific War Channel where I cover the history of China and Japan from the 19th century until the end of the Pacific War. While the struggle around Changsha occupied one half of the battlefield, another contest of equal consequence was taking shape farther west at Yichang. The two operations were not separate stories. They belonged to the same campaign, and each influenced the fate of the other. If Changsha was the city whose danger was plain to every observer, Yichang was the stronghold whose importance weighed most heavily on the calculations of commanders. In the autumn of 1941, the outcome in one place could not be understood without the other. For Chen Cheng, Yichang was more than a military objective. It was a wound that had never closed. The city stood on the Yangtze at a point of major strategic value, tied not only to communications and transport but also to the defense of the river approach toward the wartime capital. When Yichang had fallen in June 1940, it had done more than alter the front line. It had left behind humiliation. Three Japanese divisions—the 3rd, 13th, and 39th—had seized the city after twelve days and nights of intense fighting. At five in the afternoon on June 11, a unit of the Japanese 13th Division under Tanaka Seiichi had broken in from the southeast. Chinese troops of the 18th Army under Peng Shan and Luo Guangwen's 18th Division fought a savage close-quarters battle inside the city for a full day and night, while Japanese forces of the 3rd and 39th Divisions pressed from the north. At four in the afternoon on June 12, with Deng Ping's battalion covering the withdrawal, the Chinese finally pulled out and Yichang was lost. Men in high command do not always remember defeat in the same way as the men who fight through it. Soldiers tend to remember heat, hunger, the dead, or the exact corner where a friend fell. Commanders also remember those things, but they remember something else as well: failure recorded in the language of responsibility. Chen Cheng could not forget that twenty Chinese corps had been beaten by three Japanese divisions. At the time, Li Zongren had commanded the operation. Now the chance to erase that old disgrace seemed to be passing into Chen Cheng's own hands. On September 20, he received two telegrams, one from the Military Commission and one from Chiang Kai-shek himself. From that point onward, Yichang dominated his thoughts. By September 23, the Military Commission approved Chen's request to transfer the 33rd Army Group of the Fifth War Zone into the Sixth War Zone for the coming attack. On paper, his position seemed powerful. He now had fourteen divisions at his disposal. Yichang itself was held only by Uchiyama Eitaro's 13th Division and the Hayabuchi Detachment, together amounting to roughly sixteen thousand men. Even granting the usual Japanese superiority in training, firepower, communications, and local tactical cohesion, the Chinese possessed absolute numerical advantage. By September 28, the Chinese units had reached their attack positions, and Chen Cheng set his operational design in motion. The forces on the right bank were to attack first and pull the main body of the Japanese 39th Division southward. The 33rd Army would strike toward Jingmen and Dangyang in order to cut off the enemy's routes of retreat and reinforcement. Once these movements took hold, Yichang itself would be enclosed and crushed. Li Jilan's 94th Army, Li Yannian's 2nd Army, Song Kentang's 32nd Army, and other formations advanced according to plan. On paper the arrangement had clarity. On the ground it had resistance. The Japanese defended from strong fieldworks, and progress came slowly. Earthworks, wire, trenches, and mutually supporting positions transformed every apparent advance into hard labor. The Chinese pushed forward, but not with the speed Chen Cheng wanted. Even a favorable comparison of troop numbers could not cancel the fact that an entrenched Japanese force, once determined to hold, could impose a terrible price on assault. By October 1, Japanese troops outside Yichang began withdrawing into the city proper. Chen Cheng responded by ordering all troops to complete the encirclement. At last the operation seemed to be reaching the decisive stage. The city was tightening under pressure. The ring was nearly closed. Yet at that very moment time began pressing harder on both sides. On October 2, both Chen Cheng outside the city and Uchiyama inside it received telegrams that sharpened the crisis. The message sent from the Japanese 11th Army headquarters in Wuhan informed Uchiyama that the famous Tokyo Asakusa Art Troupe was coming to Yichang to comfort the front-line troops. The Expeditionary Army Headquarters in Nanjing had decided that, for political reasons, the troupe could not be turned back merely because combat conditions were dangerous. Their purpose was morale. That such a message could arrive at such a time reveals much about Japanese wartime culture. Appearances, spirit, ritual reassurance, and the emotional theater of endurance still had to be maintained even when military reality was worsening by the hour. The telegram that Chen Cheng received was very different. Chiang Kai-shek's order stated with brutal directness: the Japanese in northern Hunan had begun to withdraw, and Chen was ordered to spare no effort to capture Yichang within three days. Chen stared at the message for a long time. There was no need for explanation. He understood at once what Chiang meant. The battle for Yichang had already consumed days of hard fighting. Chinese units had suffered substantial losses. But the essential fact stood over every map and every order: if Japanese forces disengaging from northern Hunan reached Yichang in time to reinforce it, then all the effort already expended might amount to nothing. The battle had become not only a contest of strength, but a race. At nearly the same time, the command post of the Japanese 11th Army at Yueyang was confronting the other half of the same problem. On the night of September 30, the headquarters was brightly lit as Chief of Staff Isamu Kinoshita arranged reports, reconnaissance findings, and field messages before the army commander. The Japanese still possessed a valuable advantage: they had access to Chinese communication codes. But such intelligence could not solve every operational problem. It could not conjure food where there was none, restore exhausted bodies, or stop the battlefield from changing shape. By then the Japanese situation around Changsha had become increasingly unstable. The Hayabuchi Detachment, after entering the city, was entangled in fierce urban fighting with the Chinese 6th Provisional Division of the 79th Army. By the evening of September 30, neither side had eliminated the other inside the city. Outside Changsha, the Japanese 3rd, 4th, 6th, and 40th Divisions had assembled and kept major Chinese forces at bay. One element of the 3rd Division had even moved south by truck to Zhuzhou, fifty kilometers away, and occupied the abandoned city. Yet these outward signs of success concealed a serious weakness. The Japanese rear was fraying. Ammunition and food were running low. Divisions operating that deep in hostile territory could not sustain a prolonged campaign under such conditions. More than ten days of uninterrupted movement and fighting had also produced rising non-combat casualties. Men were collapsing from fatigue along the march. Sickness increased steadily. Units that had looked formidable on the offensive were beginning to wear thin from inside. At the same time, Chinese remnants from earlier defeats, new reinforcements, and formations that had regrouped after being thrown back were all watching for signs of weakness. Even if the Japanese divisions in Hunan still had the strength to fight several more actions, another question overrode everything else: Yichang. Yichang was not simply another point on the map. It was a strategic stronghold on the Yangtze and one of the key places from which Japan threatened Chongqing. The city also carried institutional memory. After its capture in June 1940, the occupying troops had initially been ordered to withdraw for rest and reorganization. But Imperial General Headquarters had reversed that decision almost at once and demanded that Yichang be held after all. Troops already on the road had to turn back and retake a city that had been burned, stripped, and rendered difficult to occupy. Among those who had insisted most strongly that Yichang must be retained was Anami Korechika, then vice minister of the army. Now Anami faced the consequence of that earlier insistence. However attractive the gains in Hunan might appear, Yichang could not simply be sacrificed. Uchiyama's 13th Division was not strong enough to hold indefinitely without relief. Anami looked at Hunan on the map—a rich province, beautiful and militarily tempting, much of it seeming almost within reach. But strategy does not reward attachment. With great reluctance, he gave the order to retreat. On the morning of October 1, all Japanese divisions received the reversal instructions, and at four in the afternoon they began moving north. For Xue Yue, this altered the entire meaning of the campaign. Since the beginning of the battle, he had known frustration, disappointment, and anger. Whatever private calculations he may have made about Chiang Kai-shek's strategic direction, Chen Cheng's political influence, his own mistakes in the earlier phase of operations, or the rivalries that had long poisoned Republican military life, none of those feelings prevented him from seeing the opportunity now before him. Once the Japanese turned north, pursuit was no longer merely a matter of salvaging dignity. It became an operational necessity tied directly to Yichang. His staff quickly drafted a pursuit order defining routes, timings, and methods. The document explicitly called for tracking and pursuing, interception, flanking movement, ambush, and surprise attack. This was not to be a ceremonial following of a retreating enemy at a respectful distance. It was meant to be pressure—enough pressure, if possible, to delay Japanese movement back toward Hubei. Two hours after Xue issued the order, another telegram arrived from Chongqing. Chiang Kai-shek instructed that since the enemy which had advanced into northern Hunan had begun retreating toward Yueyang on the night of October 1, the Ninth War Zone was to exploit their fatigue, pursue boldly, seize Yueyang if possible, sabotage the Wuyue Railway, and launch attacks, ambushes, and fierce strikes along the retreat route to prevent the Japanese from regaining their former defenses or shifting quickly toward Wuhan. The purpose was stated clearly: to facilitate the operations of the Third, Fifth, and Sixth War Zones. Xue Yue understood the message at once. The support provided by the Third and Fifth War Zones had been limited and often symbolic. The operation that truly mattered now was Chen Cheng's assault on Yichang. Pursuit in Hunan was not simply retaliation for the threat to Changsha. It was an attempt to buy time in blood, mud, and delay. He adjusted the pursuit deployment and ordered commanders at every level to go forward and supervise their units in person. Autumn rain began to fall over northern Hunan. Hills disappeared in mist and drizzle. Along the roads leading north moved Japanese soldiers under the Rising Sun flag; behind them and beside them, often through fields, villages, and broken country, moved Chinese troops under the Blue Sky, White Sun, and Red Earth flag. Their uniforms differed, their languages differed, their causes differed—but the exhaustion in their faces must often have looked terribly alike. Both armies moved through damp air, hunger, uncertainty, and the constant expectation of another clash. The pursuit, however, revealed the limits of Chinese strength as well as its persistence. On October 2, the battered remnants of the Chinese 74th and 26th Armies cleared battlefields along the Liuyang and Laodao Rivers and found no Japanese left there. The 74th withdrew to Liling to regroup. The 26th halted at Changle Street for replenishment. Yang Sen sent the whole 27th Army Group after the retreating enemy. Ou Zhen's 4th Army attempted to intercept the Japanese 40th Division, but the Japanese maneuvered skillfully and escaped. Ou Zhen pursued them north of the Miluo River for three days, reached the Changshui River, and found the south bank empty. The 20th Army tried to cut off the Japanese 6th Division at Fulipu. At first they could not even locate the enemy, but they did collect large amounts of matériel left behind. Deputy Commander Xia Jiong remarked, with rough optimism, that the Japanese were still "steaming hot" and would certainly be caught. His men ran hard, crossed the Miluo River, and finally did catch a rearguard. Yet the Japanese, intent only on getting away, adopted what Chinese accounts described as a low-key method of not retaliating and not becoming decisively engaged. After crossing Gaoqiao they withdrew into their previous defensive area, and Xia could do little more than stop, rest, and continue to watch them. The 58th Army intercepted more than two thousand Japanese troops near Guanwang Bridge. For a moment it seemed a major clash might erupt. Instead the Japanese fled, leaving behind large quantities of supplies. The Chinese followed them as far as Taolin and then halted when it became clear that the enemy had regained strong ground. These episodes were frustrating, but they were not meaningless. They showed that many Chinese formations had been too badly mauled in the earlier phase of the campaign to sustain relentless offensive pressure. They also showed that the Japanese, though in retreat, were still disciplined enough to avoid disastrous entanglements while shedding matériel to gain speed. The Chinese units that struck hardest during this phase were not those most damaged at the beginning of the battle, but fresher formations such as Xia Chuzhong's 79th Army and Fu Zhongfang's 99th Army. Xia's men ambushed the Hayabuchi Detachment and nearly destroyed it, killing two of its three battalion commanders. Fu's 99th Army fought a series of clashes with the Japanese 3rd and 6th Divisions and with the Hirano and Araki Detachments. The Japanese, eager to keep moving, absorbed losses rather than pause for extended battle. The 99th Army captured so much matériel that transporting it became a problem in itself. On October 4, a squad leader of the 197th Division even shot down an aircraft with machine-gun fire. Yet even here success had limits. By October 9, the entire Japanese force in northern Hunan had crossed the Xinqiang River and reoccupied its original positions. Chinese attacks achieved nothing decisive. The river once again became, in military imagination, almost a fixed frontier. As gunfire subsided in Xiangbei, all attention turned toward Yichang. The encirclement of the city was completed at noon on October 4. Chen Cheng ordered a general offensive to begin at four in the morning on October 6. Outside the city, Li Yannian's 2nd Army held fast against the Japanese 39th Division, which was trying to come in from Jingmen. Altogether, the Sixth War Zone had committed fourteen divisions—more than one hundred thousand men—to the operation. What followed was the familiar but always arresting spectacle of a great battle gathering itself. Small detachments moved forward to cut wire and destroy fortifications outside the city. Artillery officers adjusted their fire with care. Ammunition boxes changed hands continuously. Telephone operators hurried back and forth laying lines. Engineers worked with picks and shovels. Trucks forced their way down crowded roads with horns blaring. Boats were requisitioned along the riverbank, and dark-skinned boatmen weathered by the Yangtze wind moved among soldiers and officers. Behind the assault units stood medical stations under Red Cross flags, waiting for the wounded they knew were coming. All the machinery of battle was in motion. Inside Yichang, meanwhile, another scene unfolded that could only exist in wartime Japan's peculiar mixture of militarism and performance. At the field hospital of the Japanese 13th Division on the campus of Mingde Middle School, wounded soldiers wrapped in white bandages stood, sat, lay on stretchers, or leaned on medical orderlies in the yard watching entertainers from home perform while the dull rhythms of artillery sounded in the distance. The Asakusa Art Troupe had been founded in the mid-1920s and had made its name by combining modern popular elements with traditional stage culture. It had first won over ordinary audiences and then, as its reputation rose, gained acceptance among official and elite circles as well. After the outbreak of the Sino-Japanese War, it was gradually folded into the machinery of wartime propaganda, performing works meant to praise sacrifice, glorify the empire, and strengthen morale. When the delegation of more than thirty members arrived at the 11th Army headquarters in Wuhan, the army added a military band of more than twenty men to accompany them to Yichang. But by the time they reached the city, the battle had already drawn close. They could not visit forward positions. Instead they performed for the wounded. The last performance featured heavily made-up young men and women dancing a popular folk number. As the dance continued, the women bowed and invited medics and wounded men who could still move to join them. Kimono and military uniform mixed. Smiles appeared beside bandages. Music from the home islands drifted out beneath the sound of an approaching siege. Then war interrupted the scene completely. Before dawn on October 6, Chinese artillery opened on Yichang with a deafening bombardment, and the cries of attack rolled over the city. As day came up, the troupe members watched stretchers being rushed into the field hospital where they had only recently performed. One of the sixteen-year-old twin geisha sisters, Mihoko, asked the troupe leader Akizuru through tears whether they would ever be able to return to Tokyo. Qiuhe, the famous dance artist in her fifties, answered gently that they would. General Anami, she said, was leading brave troops there and would arrive in the next few days. The child must pray. The reassurance was human, but it was also part of the wartime language of consolation. Outside the city, reality was harsher. For two days and nights the fighting remained severe. The Japanese fell back toward the edge of the city and resisted with desperation. The Japanese 3rd Air Regiment in Hankou committed itself heavily to the defense, flying sortie after sortie over Yichang. Aircraft came so often that some made four round trips in a single day. On the morning of October 8, a unit of the Chinese 94th Army crossed by boat from the west bank, bypassed the Gezhouba area, and landed at the northern end of Huangcaoba. Advancing south along the embankment, it established positions on the Yangtze side only about half a kilometer from the city. This foothold effectively dominated Japanese positions west of Yichang. Mortar rounds crossed the water. Heavy and light machine guns pinned the defenders outside the walls. At the same time, the 9th Division of the 32nd Army and part of the 99th Army pressed inward as well. The ring tightened. October 9 was grave for both sides. The Japanese withdrawal from northern Hunan had by now produced a relief force. Anami assembled elite troops from several divisions into a rapid deployment column for Yichang. For the Chinese Sixth War Zone, however, victory seemed very near. Inside the city the Japanese situation was increasingly desperate. Casualties were severe. The field hospital yard was filled with groaning wounded. Uchiyama summoned support personnel, medics, cooks, ordnance repairmen, and any wounded men still capable of firing. He armed them all and formed an improvised reserve. Then, while this force was assembling, he heard the sound of a trumpet. One of the band members, still practicing as if battle had not reached its climax, reminded him that the more than twenty members of the 11th Army band were also soldiers in uniform. He added them as well, creating a special unit of 388 men. Hundreds of sacks of rice were taken from storage and piled around division headquarters as fortifications. Uchiyama then turned to Chief of Staff Akinaga and said, "Let's not believe any miracles will happen." The line was bleak, but lucid. It meant that there would be no rescue through wishful thinking. If they lived, it would be because they held long enough. If they died, they would die without pretending that destiny had cheated them. Outside the city, Chen Cheng faced a different but equally harsh pressure. On October 2, Chiang Kai-shek had ordered Yichang taken within three days. On the 4th, Chen requested an extension until the 8th; Chiang agreed, but warned that because the Japanese were retreating from northern Hunan, the city must be captured by then or all previous effort would be wasted. Chen launched the general assault on the 6th, but fierce resistance on the ground and in the air slowed him. By the 8th, the city still had not fallen. He requested another extension, asking to take Yichang by October 10. This time Chiang sent no reply. Chen understood the silence. It meant that no political room remained behind him. At 2:30 in the morning on October 10, the Sixth War Zone opened another general offensive. One hundred and forty artillery pieces joined the bombardment. Shells fell across every part of the Japanese defenses until the repeated flashes made it hard for the gunners to tell what had not yet been hit. Then the infantry went in. Men shouted and surged forward like water breaking through a barrier. Hidden Japanese machine guns cut them down in wave after wave, but more men followed behind. The dead piled on the approaches so thickly that nationality itself seemed to vanish in blood and mud. Under that fire, dawn rose red. Uchiyama watched the sunrise from the highest building in the city, the three-story Yichang Bank. After the war, he told a reporter that the sky, the earth, and even the Yangtze had all seemed red to him, as if the river itself were carrying the blood of Chinese and Japanese alike. According to a later Japanese account, messages reached him from every side that morning reporting collapse. Roughly 5000 men were estimated killed or seriously wounded. At eight o'clock Uchiyama went down to the operations room. Waiting there were his chief of staff and senior officers. At that moment the final ritual of battlefield defeat began. A farewell telegram to Anami Korechika was read aloud. Nearby stood the regimental flag of the 104th Regiment, entrusted to Captain Izumi Shigeru before the regiment's complete destruction. Uchiyama then took the 13th Division's own flag—the imperial military color—and laid it over the regimental flag. Officers and men wept, removed their caps, and bowed their heads. Uchiyama's hands trembled so badly that it took him three matches to set the flag alight. In Japanese military culture, burning a flag was among the sternest rites of defeat. The flag could not be allowed to fall into enemy hands. To destroy it was to acknowledge annihilation while presenting that annihilation as a final offering to the imperial state. When the flags had burned and places for seppuku had been chosen, the farewell message remained. It declared that all officers and soldiers had done their utmost for the empire in the final struggle, that military flags, confidential documents, and imperial edicts had been burned, and that it was deeply regrettable that overseas Chinese and the delegation in Yichang had also suffered this fate. Uchiyama then added one final sentence in red pencil: the soldiers of the empire had fulfilled their duty and died for their country amidst the heroic cries of "Long live the Grand Marshal!" At 8:50 the clerk began encoding the telegram. Then Uchiyama said quietly to the officers waiting to die: "Please wait a little longer." The words postponed death by minutes. There was still the narrow possibility that communication mattered, or that the battle had not yet reached its absolute end. Chief of Staff Akinaga summoned his adjutant, Sakata Ryūshirō, and ordered that if the division commander and chief of staff died before the telegram was sent, Sakata was to form a suicide squad, break out by any means possible, and report the division's fate to 11th Army headquarters. At ten in the morning, the Japanese 39th Division attacking from Jingmen launched a new assault under Anami's strict orders against Li Yannian's 2nd Army. One regiment used poison gas to break through part of the Chinese line and reached the outskirts of Yichang. Chen Cheng personally directed the Chinese response, using elements of the attacking force and the 2nd Army to surround and beat back the thrust. By two in the afternoon, only the Dongshan Temple line remained intact among the different sectors of the Japanese city defense. Chinese troops had penetrated the city and were fighting bitterly in the streets, moving steadily toward division headquarters. At four in the afternoon, more than 2000 Japanese rapid deployment troops from northern Hunan reached the northeast approaches of Yichang and at once joined the relief effort. Chen Cheng threw reserves in to block them, and both sides locked in combat six kilometers outside the city. As dusk fell, the Chinese assault units in the city had also suffered terrible losses. Chen Cheng ordered them to regroup, replenish, and launch a final attack after dark. Then, at seven in the evening, almost as the order was issued, a violent gale rose and torrential rain began to fall. Such heavy rain was unusual in the Yichang area in October, and to men who had been living for days under the pressure of siege, death, and deadline, it must have seemed uncanny. The Chinese attacked through the downpour, but progress was painfully slow. At the same time, more than ten thousand Japanese troops arriving from northern Hunan reached the outskirts, fought for over two hours in the rain, and finally broke into the city, linking up with what remained of the 13th Division. At eleven that night, Chiang Kai-shek ordered the attack on Yichang halted and instructed the Chinese troops to return to their original defensive positions. The battle ended not in a clear verdict, but in exhaustion. One elderly resident of Yichang, Huang Jupu, later left a memory of the aftermath more vivid than any headquarters summary. He recalled that the heavy rain began at nightfall on the twentieth day of the eighth lunar month—October 10 in the Gregorian calendar—and continued into the next afternoon. Rainwater soaked the corpses lying in the streets until the water became a deep brownish-red pool more than two feet deep before it drained into the Yangtze and changed the river's color. The next day, he said, both sides sent corpse-collection teams into the streets under Red Cross flags. They pushed carts and worked separately, avoiding conflict, though sometimes they spoke to one another when trying to identify bodies. The Japanese recovery party included Chinese helpers and local residents. They turned corpses over, looked at clothing and weapons, and tried to determine nationality. Some bodies were naked, perhaps stripped wounded, which made identification harder. Since Chinese and Japanese could resemble one another, neither side wanted to take the wrong dead, fearing that a mistake would disturb the heroic souls to whom each army believed it owed proper burial. In the end, Huang remembered, it was the people of Yichang who pooled their money to bury many of the dead north of the city. Later an unmarked stone was raised there, with a bowl of rice and a stick of incense set before it. That image does something military history often fails to do. It restores weight to the end of battle. Armies issue attack orders, counterattack orders, pursuit orders, and retreat orders. Staff officers mark arrows on maps. Commanders calculate reinforcement and delay. But after all of that comes the business of soaked bodies in the street, identification, carts, shallow graves, and local people forced to do what armies can no longer fully do for their own dead. Seen as a whole, the operations in Hunan and Hubei during these weeks form one connected historical drama. The Japanese advance toward Changsha was real and dangerous, but it failed to produce decisive strategic gain. The battle strained the Chinese defense badly. Some units collapsed. Others improvised and recovered. The city was entered, contested, and then fought over again. Behind the forward line, Chinese forces such as Yang Sen's 27th Army Group harassed Japanese communications and supply, turning depth into vulnerability. At the same time, Chen Cheng's offensive against Yichang transformed what might otherwise have remained a local success for Japan in Hunan into a strategic dilemma. Once Yichang came seriously under threat, the Japanese command could not continue to treat the Hunan offensive as self-contained. It had to weigh possession against preservation, momentum against strategic necessity. That calculation compelled the retreat from northern Hunan. The retreat in turn changed the meaning of Xue Yue's operations. Pursuit became valuable not mainly because it might recover wounded pride or even because it might damage the retreating enemy, but because every hour of delay imposed on Japanese units moving north was another hour in which Yichang might fall. Yet Yichang did not fall. That fact is central, but it must be interpreted carefully. Chen Cheng had numerical superiority and fought with determination, but numbers alone could not cancel the difficulty of assaulting a fortified Japanese position under air attack and against fanatical resistance. Time worked against him. Every day lost increased the chance that Japanese relief would arrive from Hunan. Chiang Kai-shek's increasingly urgent telegrams reflected strategic logic, but they could not abolish battlefield reality. Men still had to cross open ground, cut wire, silence guns, and survive fire. Inside Yichang, Uchiyama's defense reveals the same pressure from the opposite side. He understood that his task was simple in principle and terrible in practice: hold until relief arrived. That necessity drove him to arm cooks, medics, repairmen, musicians, and wounded men. It drove him to build fortifications from sacks of rice. It brought him to the point of burning flags and preparing for ritual death while still delaying the final act long enough to see whether rescue might come. The presence of the Asakusa Art Troupe inside the besieged city sharpened the tragedy. They had been sent for morale and appearance, as if cultural performance might reassure an empire already growing anxious about the costs of war. Instead they became trapped witnesses to near-annihilation. The young girl asking if she would ever return to Tokyo cuts through all rhetoric. It is the ordinary human question that waits behind every doctrine of heroic sacrifice. In the end, neither side obtained everything it sought. Japan failed to turn its push into Hunan into a decisive result. China failed to retake Yichang despite concentration of force and a window of opportunity that for a time seemed very real. But that does not mean the campaign resolves into stalemate in any empty sense. It revealed important truths. For China, it showed both weakness and development. Weakness appeared in broken lines, uneven coordination, exhausted pursuit, and the inability to convert superiority in numbers into victory at Yichang. But development appeared too: a greater ability to coordinate war zones, to pressure Japanese rear areas, to force the enemy into strategic compromise, and to sustain resistance under conditions that would once have threatened outright collapse. For Japan, the campaign exposed the narrowing gap between aggressive offensive action and dangerous overextension. Japanese divisions could still strike hard, move with speed, and defend with ferocity. Their aircraft could still exact terrible cost. But logistics, fatigue, sickness, and the obligation to rescue threatened positions like Yichang increasingly limited what offensive success could mean. The deepest memory of the campaign may belong not to generals, however, but to the smaller figures history often notices only in passing: the soldier chewing dry ration without water; the wounded man who blew himself up rather than submit; the old beggar who revealed a depot; the band member still practicing trumpet in a city preparing for death; the frightened girl from the troupe; the townspeople who buried the dead after rain washed blood into the Yangtze. These are not decorative details. They are what make the history real. The autumn of 1941 in Hunan and Hubei was not one clean victory, nor one clean defeat. It was a season in which pressure in one sector altered decision in another, in which tactical success did not always yield strategic reward, and in which endurance itself increasingly became a form of power. That is why the campaign matters. It shows a war whose balance had begun to change, not dramatically or conclusively, but perceptibly. China still suffered, improvised, and fell short. Japan still advanced, struck hard, and held important ground. Yet the margin between them was no longer what it had been in the earlier years of the war. History moved that autumn not by omen or destiny, but by the hard materials of war: supply, timing, weather, command, fatigue, communications, morale, and blood. In Hunan and Hubei, all of those forces converged. They carried armies north and west, into cities and out again, across rivers, through rain, and finally into memory. I would like to take this time to remind you all that this podcast is only made possible through the efforts of Kings and Generals over at Youtube. Please go subscribe to Kings and Generals over at Youtube and to continue helping us produce this content please check out www.patreon.com/kingsandgenerals. If you are still hungry after that, give my personal channel a look over at The Pacific War Channel at Youtube, it would mean a lot to me. As Chinese pressure tightened, Japan's wider situation around Changsha deteriorated—fatigue, supply strain, and losses accumulated. When the Japanese began retreating north, relief efforts turned Yichang into a desperate struggle marked by shifting fronts, poison gas, street fighting, and heavy bombardment. Chiang Kai-shek demanded a deadline, forcing Chen into final assaults that ultimately failed to secure a clean victory.  

A description of two opposite Natural Time/Mayan calendar ‘tribes’ or day signs. You are born on one of 20 Mayan day signs, and you adopt the characteristics of the day, just as with Zodiac astrology. Use these introductory descriptions to learn your own personal astrology, or others’ in your life. For more information about Mayan astrology and Lisa Star, see ResonantTruth.com. She has written books and offers affordable readings, available through her website.

In New York City, a playful bracket about broken hoops and dumping sites turns routine maintenance into a citywide tournament. Carlee Alm-LaBar, Edward Erfurt, and Alexander Lazard explore what that reveals about complaint driven 311 systems, how priorities really get set, and which neighborhoods get left off the board entirely. Their conversation presses on whether mayors can turn one clever contest into lasting trust instead of a one week story. ADDITIONAL SHOW NOTES "Mayor Mamdani Launches March Madness-style Competition for City Fixes" by Spectrum News Staff, NY1.com (March 2026) "Municipal Madness: Mayor Mamdani Performs Winning City Fix, Cleans Up Illegal Dumping in Soundview on Day 100" (Article) "Mamdani, Leaning Into ‘Sewer Socialism,' Gets His Hands Dirty" (Article) Downzone: "Mary Colter: Builder Upon the Red Earth" by Virginia L. Grattan (Book) "The Image of the City" by Kevin Lynch (Book) "How Big Things Get Done" by Bent Flyvbjerg and Dan Gardner (Book) Strong Towns National Gathering (Site) Carlee Alm-LaBar (LinkedIn) Edward Erfurt (LinkedIn) Alexander Lazard (LinkedIn) Theme Music by Kemet the Phantom.   This podcast is made possible by Strong Towns members. Click here to learn more about membership.

"Dance Talk” ® with Joanne Carey and special guest, Tyler Donatelli, Principal Dancer, Houston Ballet⁠In this episode of "Dance Talk” ® , the second in a special 4-part series with Houston Ballet & YAGP, host, Joanne Carey interviews one of Houston Ballet's principal dancers' Tyler Donatelli . Listen in as Tyler shares her journey from childhood dance enthusiast to professional ballet star. Discover insights on dedication, overcoming challenges, and the importance of versatility in dance. Tyler also talks about her experience with YAGP (Youth America Grand Prix) which led her to Houston Ballet where she is thriving in her role as Principal Dancer.Tyler says, "I feel not just one moment onstage defines me in my career, but rather every time I bow onstage." Houston Ballet is hosting the season's finals of YAGP May 10-18, 2026.Get Tickets here https://yagp.org/yagp-2026-houston-tx-finals/Tyler Donatelli was born in Huntington Beach, California and trained at the Southland Ballet Academy in Fountain Valley, CA.  She was the silver medal winner at 2012 Youth America Grand Prix as well as first prize in ballet at The Music Center Spotlight Awards 2012.   She joined Houston Ballet II in January 2013 and became an apprentice for Houston Ballet in 2014.  She continued her journey as a member of the Corps de Ballet in 2015, rising through the ranks with standout artistry and dedication. In 2017, she earned two promotions in one year — advancing to Demi Soloist in March and Soloist in September. She was then promoted to First Soloist in 2022.  Donatelli was promoted to Principal in December 2025.She has performed roles in Stanton Welch's The Nutcracker (Clara & Sugar Plum Fairy), Cinderella, Zodiac, Tapestry, Romeo and Juliet, Red Earth, and Giselle; Mark Morris' The Letter V ; George Balanchine's Serenade, Jewels, Stars and Stripes (Liberty Bell) and Tschaikovsky Pas de Deux; Trey McIntyre's Peter Pan (Tinkerbell); Justin Peck's Year of the Rabbit and Under the Folding Sky; John Neumeier's A Midsummer Night's Dream (Helena); Sir Kenneth MacMillan's Mayerling (Princess Louise) and Ben Stevenson's Coppélia (Swanhilda). She has had roles created on her in Stanton Welch's Zodiac, Just and Sparrow; Arthur Pita's Good Vibrations and Justin Peck's Reflections and Under the Folding Sky.Donatelli has danced in several tours including Stanton Welch's Swan Lake in Tokyo, Japan (2022), Dubai, UAE and Minneapolis, MN (2018); Stanton Welch's Velocity in Bonn and Tapestry in Ludwigshafen, Germany (2017); and Stanton Welch's world premiere of Just and Sons de L'âme and Trey McIntyre's In Dreams at Jacob's Pillow in Becket, MA (2018).  As part of the Company's 50th Anniversary in October of 2019, she traveled to New York City's City Center to reprise her original role in Justin Peck's Reflections.⁠“Dance Talk” ® with Joanne Carey "Where the Dance World Connects, the Conversations Inspire, and Where We Are Keeping Them Real.

Christopher Amy is a Highly skilled Cannabis Cultivation Specialist with expertise in Integrated Pest Management (IPM) and a proven track record of successfully maintaining optimal cannabis plant health, managing pests, diseases, and environmental factors to maximize yields. Chris has grown marijuana for more than 25 years,  mostly black market but the last five years he's been in the commercial industry in New Mexico. He makes his own cultivars/ breed cannabis strains, believes Jesus is who He says He is and Chris hasn't had a sip of alcohol in almost four years.  Cannabis helps him remain alcohol free.  

Headlines:- MUA Carnival Cruise ships exploitation- HWU Strike Action- PSA NSW David Dungay Jr. Plaque Main section:Academic Nick Everett Excerpt from address about the Pilbara Strike at Perth Trades Hall in 2024 as part of a symposium held by the Perth Branch of the Australasian Society for the Study of Labour History.  ...The sheep's wool dragged and the squatters sworeAnd talked nice words till their tongues got soreAnd their bellies swelled with so much liesBut the blackfellers shooed them off like flies. The sheep got lost on the squatters' run.The shearing season was nearly done.Said the squatters eaten up with greed,"We'll pay good wages and give good feed." The blackfellers sheared the wool and thenGot their wages like working-men.The squatters' words were stiff and sore,"We won't pay wages like that no more."...Excerpt from the poem "Clancey and Doolery and Don Mcleod" by Dorothy Hewett

My guest today on the Online for Authors podcast is Jim Gulledge, author of the book Green Forest, Red Eath, Blue Sea. Jim Gulledge is the author of A Poor Man's Supper. The novella was selected for inclusion in the North Carolina Collection at UNC-Chapel Hill and the W.L. Eury Appalachian Collection at Appalachian State University. Over the course of his academic training, Dr. Gulledge earned an A.B. degree in Christian education from Pfeiffer University, an M.A. in English from Clemson University and a DMin in theological studies from Gordon-Conwell Theological Seminary. His career highlights included participation in the Adult Development Institute at Harvard University, the Fulbright German Administrators Exchange Program and the C.S Lewis Summer Residence program in Oxford, England. A life-long resident of the Carolinas, Jim and his wife, Linda, enjoy visiting with their four children and son-in-law and daily life with their miniature schnauzer, Luka.   In my book review, I stated Green Forest, Red Earth, Blue Sea is a beautiful Southern fiction set of short stories. I fell instantly in love with these stories that take place in the state I call home - North Carolina. Each of the three stories takes place in a different part of the state and follow three connected families. The stories, though they take place during different times and in different places, stay connected through a family heirloom.   Unlike most books I enjoy this one has many varied characters, so there isn't one character to fall in love with. Instead, readers fall in love with place. And Jim did an excellent job helping readers come to love North Carolina, from the green hills of the mountains to the red clay of the piedmont to the sandy shores of the ocean. I also enjoyed discovering how each family connected with one another and how they managed to cover the state in a few generations.   We start in the mountains as trains bring change - meeting two young lovers whose time together is fleeting. Next, we find ourselves saving peaches from a deadly spring freeze. Can this couple eek out a living in the clay? The last story asks us to cheer for an orphan boy and the chance to find buried treasure against the backdrop of a tropical storm. And finally, catch a quick glimpse of a story yet to be told when a boy from the beach glimpses a girl from the mountains - and we feel that it will all start again.   Jim tells a delightful series of stories, and you won't want to miss this book. It would make a great gift for any NC native!   Subscribe to Online for Authors to learn about more great books! https://www.youtube.com/@onlineforauthors?sub_confirmation=1   Join the Novels N Latte Book Club community to discuss this and other books with like-minded readers: https://www.facebook.com/groups/3576519880426290   You can follow Author Jim Gulledge FB: @jim.gulledge.12   Purchase Green Forest, Red Eath, Blue Sea on Amazon: Paperback: https://amzn.to/4oI77Mw Ebook: https://amzn.to/47IXRAE   Teri M Brown, Author and Podcast Host: https://www.terimbrown.com FB: @TeriMBrownAuthor IG: @terimbrown_author X: @terimbrown1   Want to be a guest on Online for Authors? Send Teri M Brown a message on PodMatch, here: https://www.podmatch.com/member/onlineforauthors   #jimgulledge #greenforestredearthbluesea #southernfiction #shortstories #terimbrownauthor #authorpodcast #onlineforauthors #characterdriven #researchjunkie #awardwinningauthor #podcasthost #podcast #readerpodcast #bookpodcast #writerpodcast #author #books #goodreads #bookclub #fiction #writer #bookreview *As an Amazon Associate I earn from qualifying purchases.

This recording was made during a Kathakali performance — a traditional Indian theatre art form native to the Malayalam-speaking state of Kerala. It captures a 9-minute percussive piece performed by an ensemble featuring the Chenda and Maddalam, two prominent drums of the tradition, accompanied by the echoing tones of Chengila (gong) and Elathalam (cymbals). Recorded from the audience's perspective, the audio reflects not just the instruments themselves but also the layered soundscape projected through nearby speakers, with occasional murmurs that ground the recording in the real-life atmosphere of the performance. Recorded in Ettumanoor, India by Manu Krishnakumar.

9.8.25 - Day 12/13 of the Red Earth Wavespell - Lunar Moon 17 We are winding down the Red Earth wavespell and it should be conscious in you how it's helped you evolve. Usually at the front end of the wavespell there is karma that presents itself. Some part of our lives shows up to be especially important and topical. Then we spend the wavespell watching it grow, shift, move down the road so that it's neither stuck in place or doing lightning strikes of dramatic change. We have cruised to a new vantage point or relationship with the karma. I like it! We are in the part of the Tzolkin - the second half - that has some easier tribes for the human psyche. We can do seeds and earth and dogs and abundance much more willingly and smoothly than addiction and snakes and death. So enjoy this part of the Tzolkin while you are in the hard spot of the annual wavespell, its earliest moons. Soon we will be Electric, alleviated by the entrance and assistance of the divine realm.

In this episode, our guest is Marc Sheldon, CEO of Red Earth Energy Storage. Marc shares his journey from solar thermal to leading innovations in lithium iron phosphate (LFP) battery systems. He explains how Red Earth's Australian-made, plug-and-play solutions are transforming energy access — from rural off-grid sheds to large-scale commercial installations — and enabling grid stability through storage. Marc also reveals their “microgrid in a box” concept, which integrates generation, storage, and key household systems on a DC backbone, offering huge potential for remote communities, island nations, and disaster recovery. We discuss the shift toward a distributed grid, the role of vehicle-to-grid technology, and how regulatory changes, market design, and community-driven adoption will shape the energy landscape toward 2030. Connect with Sohail Hasnie: Facebook @sohailhasnie X (Twitter) @shasnie LinkedIn @shasnie ADB Blog Sohail Hasnie YouTube @energypreneurs Instagram @energypreneurs Tiktok @energypreneurs Spotify Video @energypreneurs

[Original air date: 06/28/2024] This week, the boys are joined by Anthony - better known as Video Game Esoterica on YouTube - to talk about arcade games of the rarest and most obscure. There's lots of hidden gems buried here, and by god we dig 'em up! Get ready to look under those tarps, marathon Godzilla while making deals, and smell that chlorine.

In 1857, the Meskwaki Nation began the long process of piecing their homelands back together. After decades of war, dispossession, and removal at the hands of the American government and American settlers, the Meskwaki, bit by bit, purchase by purchase, started to reestablish a land base along the banks of the Iowa River, more than a century and a half before Land Back became a hash tag.  In Red Earth Nation: A History of the Meskwaki Settlement (Oklahoma UP, 2024), the historian Eric Zimmer traces the history of this settlement (importantly, not a reservation) and the Meskwaki people through their ancient establishment as a people, and their fight to retain identity, land, and indeed, their very existence. A powerful example of community-based history writing, Zimmer tells a story that, while certainly not a straight line, refuses to be simply a tale of woe and hardship. Instead, this is a story of survival, perseverance, and of savvy politics even in the face of the most difficult obstacles.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In 1857, the Meskwaki Nation began the long process of piecing their homelands back together. After decades of war, dispossession, and removal at the hands of the American government and American settlers, the Meskwaki, bit by bit, purchase by purchase, started to reestablish a land base along the banks of the Iowa River, more than a century and a half before Land Back became a hash tag.  In Red Earth Nation: A History of the Meskwaki Settlement (Oklahoma UP, 2024), the historian Eric Zimmer traces the history of this settlement (importantly, not a reservation) and the Meskwaki people through their ancient establishment as a people, and their fight to retain identity, land, and indeed, their very existence. A powerful example of community-based history writing, Zimmer tells a story that, while certainly not a straight line, refuses to be simply a tale of woe and hardship. Instead, this is a story of survival, perseverance, and of savvy politics even in the face of the most difficult obstacles.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

In 1857, the Meskwaki Nation began the long process of piecing their homelands back together. After decades of war, dispossession, and removal at the hands of the American government and American settlers, the Meskwaki, bit by bit, purchase by purchase, started to reestablish a land base along the banks of the Iowa River, more than a century and a half before Land Back became a hash tag.  In Red Earth Nation: A History of the Meskwaki Settlement (Oklahoma UP, 2024), the historian Eric Zimmer traces the history of this settlement (importantly, not a reservation) and the Meskwaki people through their ancient establishment as a people, and their fight to retain identity, land, and indeed, their very existence. A powerful example of community-based history writing, Zimmer tells a story that, while certainly not a straight line, refuses to be simply a tale of woe and hardship. Instead, this is a story of survival, perseverance, and of savvy politics even in the face of the most difficult obstacles.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/native-american-studies

In 1857, the Meskwaki Nation began the long process of piecing their homelands back together. After decades of war, dispossession, and removal at the hands of the American government and American settlers, the Meskwaki, bit by bit, purchase by purchase, started to reestablish a land base along the banks of the Iowa River, more than a century and a half before Land Back became a hash tag.  In Red Earth Nation: A History of the Meskwaki Settlement (Oklahoma UP, 2024), the historian Eric Zimmer traces the history of this settlement (importantly, not a reservation) and the Meskwaki people through their ancient establishment as a people, and their fight to retain identity, land, and indeed, their very existence. A powerful example of community-based history writing, Zimmer tells a story that, while certainly not a straight line, refuses to be simply a tale of woe and hardship. Instead, this is a story of survival, perseverance, and of savvy politics even in the face of the most difficult obstacles.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

In 1857, the Meskwaki Nation began the long process of piecing their homelands back together. After decades of war, dispossession, and removal at the hands of the American government and American settlers, the Meskwaki, bit by bit, purchase by purchase, started to reestablish a land base along the banks of the Iowa River, more than a century and a half before Land Back became a hash tag.  In Red Earth Nation: A History of the Meskwaki Settlement (Oklahoma UP, 2024), the historian Eric Zimmer traces the history of this settlement (importantly, not a reservation) and the Meskwaki people through their ancient establishment as a people, and their fight to retain identity, land, and indeed, their very existence. A powerful example of community-based history writing, Zimmer tells a story that, while certainly not a straight line, refuses to be simply a tale of woe and hardship. Instead, this is a story of survival, perseverance, and of savvy politics even in the face of the most difficult obstacles.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-west

DJ Tatsujin of Gemubaka joins as we venture to the strange and wonderful world of Red Earth! Why did Capcom make a fantasy boss rush fighting game right before Street Fighter III? How do you actually get good? Who should be in Monster Hunter? We get into everything about one of Capcom's most obscure fighters. And I take a look at the newly released Marvel vs. Capcom Fighting Collection! In the feature section, join me as I take you to Yokohama Hakkeijima Sea Paradise to check out their Animal Crossing event! Follow our guest! Site: https://gemubaka.com/ Youtube: https://www.youtube.com/@gemubaka Twitter: https://twitter.com/djtatsujin   (0:00) - Intro Games (1:05) - Red Earth w/ DJ Tatsujin of Gemubaka (29:27) - Marvel vs. Capcom Fighting Collection Feature (38:14) - Yokohama Hakkeijima Sea Paradise x Animal Crossing News (47:28) - Possible Switch 2 leaks (50:02) - Splatoon 3 Grand Festival results (51:19) - The Secrets of Mother 2 / Earthbound book (51:57) - Closing Social media: Twitter: https://twitter.com/TokyoGameLife Instagram: https://www.instagram.com/tokyogamelife/ YouTube: https://www.youtube.com/@tokyogamelife Threads: https://www.threads.net/@tokyogamelife Bluesky: https://bsky.app/profile/tokyogamelife.bsky.social Website: https://tokyogamelife.com/ Like and subscribe on your favorite podcast app! Send questions and suggestions to: tokyogamelife@gmail.com

This is a re-release of a conversation with Tenzin Norbu in his home studio in Kathmandu, Nepal. Today's conversation is solely available in a video format. Here is the link to watch today's episode: https://youtu.be/bBkNuHZSN38   Tenzin Norbu was born in Dolpo, Nepal, into a family of thangka painters from a lineage that dates back atleast 400 years. His work has appeared in museums and private collections around the world, as well as, several international publications, including Caravans of the Himalaya, National Geographic, and the feature film Himalaya. He is also the illustrator for children's books, including Himalaya, and Clear Sky, Red Earth. 

Prepare to be haunted by the chilling tale of Death Butte, an episode from the spine-tingling series "Tales From the Red Earth." This episode delves into the terrifying encounter of a Guardian of the High Council as they confront the malevolent beings lurking in the shadows of Death Butte. In this bone-chilling Native American warrior tale, we follow a courageous Guardian of the High Council as they venture into the sinister depths of Death Butte. This desolate and eerie location is rumored to be guarded by a faction of death spirits, and the Guardian's mission is fraught with unimaginable horrors. Will they survive the wrath of these otherworldly entities, or will the darkness consume them? Join us on Unearthing the Supernatural as we unravel this dark and terrifying story that will leave you on the edge of your seat. This episode is not for the faint of heart. Enter if you dare...

Embark on a thrilling journey through time and legend with "Tales from the Red Earth." Delve into the rich tapestry of history as we follow the courageous High Council Guardians on their epic quests and battles, spanning from ancient times to the present day. Each episode of "Tales from the Red Earth" unveils a new tale, woven with threads of bravery, honor, and the eternal struggle between light and darkness. From the forgotten paths of Turtle Island to the farthest reaches of the world, our guardians stand as sentinels against the encroaching shadows. Join us as we traverse the depths of ancient caves, the vast expanses of wilderness, and the bustling streets of modern cities, encountering mystical beings, ancient artifacts, and formidable adversaries along the way. Through the eyes of our heroes, witness the untold stories of sacrifice, valor, and the unbreakable spirit of humanity. As they confront the darkest evils and uncover the hidden truths of our world, the High Council Guardians remind us that even in the face of adversity, hope shines brightest. Welcome to "Tales from the Red Earth," where ancient legends come to life in the shadows of the red earth. In Episode 1, "The Skinwalker's Lair," journey with us to the Four Corners, where the winds whisper secrets and the canyons hold dark mysteries. Join our squad of warriors as they confront the sinister beings known as skinwalkers in a treacherous cavern, delving into the depths of fear and courage. Led by a young guardian, the squad faces not only the shapeshifters but also the chilling presence of Boney Eagle, a creature of darkness and malice. As tensions rise and battles ensue, the warriors uncover horrifying rituals and desecration in the depths of the cave. With bravery and determination, they fight to cleanse the site and restore peace to the disturbed grounds. But their victory is only the beginning, as the threat of Boney Eagle looms large, promising future encounters with ancient evils. As dawn breaks on the horizon, the warriors know that their mission is far from over. Subscribe to "Tales from the Red Earth" to journey deeper into the unknown, where every story matters and every battle counts. Stand with us as we uncover the mysteries that await in the darkness, and remember, your support gives us the strength to face whatever comes next. Thank you for watching, and until next time, keep the fires of courage burning. We are few of many, one story of thousands—let us hear yours. --- Support this podcast: https://podcasters.spotify.com/pod/show/herolessons/support

https://michaelsalu.com/ https://theredearthproject.org/ Get the book from : https://calamaripress.com/Red_Earth.htm linktr.ee/houseofthought Gateway books The Wretched of the Earth - Franz Fanon Great Expectations - Charles Dickens The Human Condition - Hannah Arendt The Brothers Kamarazov If on a Winter's Night a Traveller - Italo Calvino Lost Illusions - Honoré de Balzac Heart of Darkness - Joseph Conrad  A Lover's Discourse - Roland Barthes Influential as a writer Confabulations - John Berger The Myth of Sisyphus - Albert Camus Kindred - Octavia Butler The Literature Machine - Italo Calvino  Anne Carson  The Boxman - Kobo Abe The Invisible Man - Ralph Ellison  Camera Lucida - Roland Barthes Derek Walcott Negrophobia - Darius James Denis Johnson - Jesus' sonDisgrace - JM Coetzee Currently reading: The Black Technical Object - Ramon Amaro MACUNAÍMA: THE HERO WITH NO CHARACTER, BY MÁRIO DE ANDRADE Nomenclature: New and Collected PoemsBook by Dionne Brand The Visitors by Jessi Jezewska Stevens Terra Amata by Jean-Marie Gustave Le Clézio

Today we have John Chang the designer of Black Powder Red Earth a 28mm ultra-modern tactical skirmish game. We talk about the game and the design process the developers went through to get the game to market. 

Welcome to the third installment of Shinji, not being able to catch a break. He gets woken up from a 14 year coma just to get absolutely no info on what's going on. That's okay though, he eventually runs off and makes a new friend who brings him to new heights, literally. As well as nearly ending the world again.Our Links:Ian Wolffe

Talk of Iowa shares the story of a new production Squatters on Red Earth that explores the relationship between the Meskwaki people and the Inspirationists, a communal society that founded the Amana Colonies.

Host Mary Swander provides background on the research and production of her new play Squatters on Red Earth, a peaceful encounter in the middle of the white settler land grab. Swander details her interactions with both the people of the Amana Colonies and the Meskwaki Settlement. These two groups, wanting nothing more than to remain hidden from the outside world, had a positive experience together in the early settlement days-all the while genocide whirled around them. Laura Hudson Kittrell sings Manifest Destiny. Rip Russell gives a short excerpt from the play. Brant Bollman, the director, speaks about the puppetry in the performance.Connect with us on our new Substack pages where you will see photos and extras from the podcast:Mary Swander's Buggy Landmaryswander.substack.comAnd Mary Swander's Emerging Voices, showcasing young, diverse writers on current topics:swander.substack.comBecome a premium member of our podcast Mary Swander's Buggy Land and gain access to bonus interviews, books, postcards, and poetry critiques. Have Mary join you and a small group for a reading. Visit: https://agarts.supercast.com/Your donation to Buggy Land helps make this podcast a sustainable business and allows us to do this work. We could not do it without you. Thank you for your support. Make your donation: https://www.agarts.org/donate/AgArts is a non-profit organization based in Kalona, Iowa, whose mission is to imagine and promote healthy food systems through the arts. The Executive Director and host of Buggy Land is award-winning author Mary Swander. https://maryswander.com/. Learn more about AgArts: https://www.agarts.org/Say hello on Facebook and InstagramListen on Apple PodcastsListen on SpotifyToday's episode was produced and mixed by Rick Brewer of Brewhaha Audio Productions.

You'll see the "Blue Sky, White Sun, and Red Earth" flag everywhere across Taiwan, and each year, streets are lined with this banner to celebrate Double Ten Day on October 10th. But is it really the flag of Taiwan? Who designed it? Today's episode is all about the ROC flag: an engrossing tale involving Dr. Sun Yat-sen, a martyr, warlords, and more. Learn about the various flags which contended for the honor to represent the Republic of China. Had fate gone differently, there might have been a five-striped banner flying from Taiwan's flagpoles, or a really strange one which looks like (well, it has to be seen to be believed, so best pay a quick visit to the Formosa Files website to see the flags we're talking about). Visit www.formosafiles.com for pics, links, maps, and flags

Squatters on Red Earth from Iowa writer Mary Swander is an important new play telling the story of historical cooperation and respect between the Amana Colonies and the Meskwaki Indigenous people. Artist and food sovereignty advocate, Shelley Buffalo also joins us to talk about her involvement in the production and her thoughts on re-introducing rematriation of the land in Iowa to better reflect an indigenous earth ethic. 

A new play about one story of the white colonization of Iowa opens this summer. Join us today as Dr. Bob Leonard goes “In Depth” with Mary Swander, author and playwright of Squatters on Red Earth.

One of my favorite films of the 2023 Atlanta Film Festival was the meditative sci-fi film, "Red Earth". On the night of its premiere, I had the chance to discuss it with director Georg Koszulinski, cinematographer Kate E. Hinshaw and producer Tiffany Albright, and it was great to discuss this complex film with them.

This time on Retrovaniacs, we're taking on a Patron request to cover Red Earth, Capcom's "lost" arcade fighter that has recently been released on consoles on the Capcom Fighting Collection!  Is this a game that we're lucky to try out finally after over 25 years, or was this better left as a footnote in their arcade catalog? We also talk video game hot takes, Ys games, and Jeremy P gets an interesting proposal... Want to get right to the game? Skip to the 10:00 mark! Join us over on our Discord to discuss games, food, or really anything over at https://discord.gg/pb76x32uWY __________________________ If you would like additional bonus episodes of Retrovaniacs or to request a game we must cover, our Patreon is located here : https://www.patreon.com/user?u=21041333 If you enjoy this podcast, why not write a review wherever you download it from? It's easy, and helps people find us by accident. Find everything Retrovaniacs at http://www.retrovania.net Intro song is "8-Bitter" by Subtastics, and is used with permission, mainly because Jeremy P is in that band.

The Raconteur must be feeling the Holiday spirit as he shows you the story of Klaus, or as he's known in your world, Santa Claus. Although, if you look through the veneer of Christmas Spirit, Klaus looks rather familiar...

Set your weapons to eleven and join us for our second interview on Jon with BPRE as he talks about getting the game out into the convention scene and his plans for Phase Line 2.

The Backlog Attack continues as Randy goes all the way back to the original Legend of Zelda. His reaction may surprise you. (But then, many things may surprise you.) Meanwhile, D.J. tries out Red Earth, Capcom's hybrid fighting-RPG-dinosaur game. Episode Timeline (0:00) - Intro (07:36) - The Legend of Zelda (43:47) - Red Earth (1:03:08) - Outro

In our most games-packed episode to date, merritt, Nerium, Fūnk-é and Jordan discuss the current state of their GOTY lists, what they want to make time for in the coming months, games from yesteryear that they've recently connected with, the latest titles on Gabe's big store, and of course, more recommendations for living your daily life. Segments: GOTY Goulash, Gabe's New & Tasty, Get Rec'd Games discussed: Elden Ring, Kirby And The Forgotten Land, Monster Hunter Rise: Sunbreak, Vampire Survivors, PowerWash Simulator, Wordle, Nobody Saves the World, Pokemon Legends: Arceus, Horizon Forbidden West, Stray, Xenoblade Chronicles 3, Drainus, Record of Lodoss War: Deedlit in Wonder Labyrinth, Norco, Pinball FX3, Lobotomy Corporation, Red Earth, Wario World, Fire Emblem Three Houses, Fashion Police Squad, Spark the Electric Jester 3, Noel Does Her Best, Marvel's Spider-Man Remastered, Cult of the Lamb, Arcade Paradise, Axiom Verge 2, Stranded Deep, Two Point Campus, PlateUp!, Gun Devil Learn more about your ad choices. Visit megaphone.fm/adchoices

Guest: Jacques Coetzee | A pianist and songwriter, who's previously worked as a busker at the Waterfront. He's also a member of the band Red Earth & Rust, and earlier this month, they released their 5th album entitled These Narrow Songs. See omnystudio.com/listener for privacy information.

One Earth, Two Earth, Red Earth, Blue Earth. It's yet another bonus episode with Chamar and Andrew for the final stop on our ride Across the DC-Verse!! In the multiverse crossover film, https://en.wikipedia.org/wiki/Justice_League:_Crisis_on_Two_Earths (Justice League: Crisis on Two Earths), the Justice League travel to a different version of their earth and come face to face with their evil reflections. As always, we are here to ask the big questions: Does the story make sense? How does it compare to the comic? Is it a good addition to the universe? And most importantly, does having a mafioso accent make you qualified to run an evil Justice League? Also, rate and follow Yet Another DC Animated Podcast on https://linktr.ee/yadcanimatedpod (social media) or check us out at https://www.forgottenentertainment.com/yet-another-dc-animated-podcast (Forgotten Entertainment).

Adelaide born Shane Placentino graduated from The Australian Ballet School in 1990 and was accepted into the The Australian Ballet in 1991.He also worked with Graeme Murphy and Janet Vernon appearing in Murphy's Nutcracker and Beyond Twelve. After ten years with The Australian Ballet, Shane departed in 2000.He joined The Sydney Dance Company in 2002. His repertoire with the company includes Ellipse, Air and other invisible forces, Salome, Free Radicals, the role of ‘Jack' in Tivoli, Underland, Random Play, Some Rooms, Grand, Hua Mulan, Berlin and Ever After Ever. Dance credits with The Australian Ballet encompass the full classical and contemporary repertoire including Swan Lake, The Sleeping Beauty, Giselle, The Merry Widow, Jiri Kylian's Sinfonietta, Nacho Duato's Jardi Tancat, Stanton Welch's Red Earth, John Cranko's Romeo and Juliet and Kenneth MacMillan's Manon. In 2008 Shane has assisted and performed in Meryl Tankard's Inuk2 and was appointed the stage manager for Rafael Bonachela's recent work with The Sydney Dance Company.A move in to the world of opera has seen him embrace the various guises of choreographer and director. For Opera Australia he has assisted on productions of The Merry Widow (2018), West Side Story, Madama Butterfly (2019) and Faust. As Revival Director his work has brought to vivid life the operas Faust (2020), The Merry Widow (2021), Aida, Madama Butterfly (2022) and Turandot. In May he directs global opera sensation Jonas Kaufmann in Olivier Py's celebrated production of Wagner's Lohengrin. The opera plays May 14th to 24th at the State Theatre, Arts Centre, Melbourne. It is a stunning production, bound to thrill and delight.Shane Palcentino joined STAGES to describe the task ahead of him in reviving the opera for its Australian season and an indication of what's in store for the fortunate Melbourne audience. He also reflects on a journey through Dance that has lead him to his cherished role as a director/choreographer with Opera Australia.The STAGES podcast is available to access and subscribe from Whooshkaa, Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

Lita Albuquerque is an internationally recognized multidisciplinary artist and writer. Emerging from California's Light and Space movement, Albuquerque has developed a visual language that investigates identity and the cosmos through painting, sculpture, as well as monumental environmental installations. Her array of accolades includes three NEA (National Endowment for the Arts) Art in Public Places awards, an NEA Individual Fellowship grant, the 2019 Laguna Art Museum Wendt Artist of the Year Award, and MOCA's (Museum of Contemporary Art) Distinguished Women in the Arts award. In 2020, Albuquerque major outdoor projects including NAJMA (She Placed One Thousand Suns Over the Transparent Overlays of Space) for Desert X AlUla, Saudi Arabia, and Red Earth at the Huntington Botanical Gardens and Library Centennial Celebration. Her work is in the collections of the institutions including the Metropolitan Museum of Art, the Getty Trust, the Whitney Museum of American Art, LACMA and MOCA, among others. For Further Information: On the Edge Exhibition: www.bmoa.org/exhibition/on-the-edge Lita Albuquerque: www.litaalbuquerque.com/ Instagram: @litaalbuquerque    

In Black Powder Red Earth 28MM, you're an operator operating operationally... and then a Chinese drone stabs you from the sky. Black Powder Red Earth 28MM screenshots w/commentary on the blog: https://www.barreldrill.com/black-powder-red-earth-28mm-fortified-niche-playtest/ Find Black Powder Red Earth 28MM here: https://www.blackpowderredearth.com/28mm.php Follow the creators of Fortified Niche on social media! JcDent: Barrel Drill blog T-shirt store Cassa: Instagram

Esch-Alzette + the surrounding areas are about to become European Capital of Culture, along with Kaunas in Lithuania and Novi Sad in Serbia. Want some home-grown culture? Esch-sur-Alzette, 10 ‘Pro-Sud towns' and 8 French towns that constitute the “Communauté de Communes Pays Haut Val d'Alzette” (CCPHVA) become the European Capital of Culture on February 26th. That means a full programme of major cultural events and exhibitions, across the whole region, open to everyone! My guests are Nancy Braun, the General Director of the Esch2022 project, and Jessika Maria Rauch, lead PR and Public Affairs for Esch2022. https://esch2022.lu/en/ The work has been a cross-border collaboration with the French communes. Plus, pan-European as the team worked closely with Kaunas and Novi Sad - the other two European Capitals of Culture for 2022. This title normally regenerates an area. Nancy and her team have been conscious to think about sustainable development, that can hopefully increase local and international tourism to a, currently, under-visited region of Luxembourg and France. The theme is REMIX Culture to support the REMIX Future of Esch 2022. From February 26th there will be a host of concerts, exhibitions, performances, virtual events and workshops, but you must register! The Minett region, formerly very industrial, has transformed into a fascinating area of nature reserves and so much more. The 'Land of the Red Earth' can be explored by bike or hiking trails. More Information: You can become a volunteer! Don't forget to register for your free tickets to whatever events you choose to attend! Dear Listeners, I'd be delighted if you could subscribe to my series and leave a review - it really helps for the podcast to be found. You can get in touch with me at www.lisatoniburke.com Subscribe to all my podcasts on whatever player you choose to use: RTL Play, iTunes, Spotify or XML. https://podcasts.apple.com/lu/podcast/rtl-today-in-conversation-with-lisa-burke/id1503348120 https://play.rtl.lu/shows/en/in-conversation-with-lisa-burke/episodes/r/1661239 https://open.spotify.com/show/4mrOtFFEXKa1DyxzfyUX1o

As part of our long term effort to find companies that seek to manufacture in the US, we have found Black Powder, Red Earth 28mm Wargame. If you like ultra-modern skirmish games built in the US from responsibly sourced suppliers then this is the game for you. Based on a quirky blend of JSOC training scenarios and computer game development this game seeks to capture the action found in the similarly named graphic novel.

​​Vine Deloria Jr. (Standing Rock Sioux), was a lawyer, theologian, and advocate for American Indian rights. Born in 1933, Deloria grew up in South Dakota. Deloria graduated in 1951 from the Kent School in Connecticut, served in the Marines for several years and then returned to school to earn a master's degree in Theology in 1963 from Iowa State, and later in 1970, he received his JD from Colorado Law. From 1978 until his retirement in 2000, Deloria was a professor at several colleges teaching political science, ethnic studies, history and religion. He established the first master's program in American Indian Studies at the University of Arizona, and served as executive director of the National Congress of American Indians (NCAI), helping it grow and become financially stable. Deloria passed away November 13th, 2005. Out of his prolific collection of written material, in this podcast we will discuss Custer Died for your Sins, God is Red, and Red Earth, White Lies.

Un poema inspirado en mis andanzas por el África. Dejo el texto a continuación: https://www.instagram.com/p/CRSNZr6N0jM/?utm_source=ig_web_copy_linkThe red earth, the read that pleads not guilty and colors the soil. The red watered earth drown to infertility. Crumbling at each step that will lead to red. The undivided earth with its rising red horizon, haunted black of the reddish red.The rain smell of the earth resembling clay. And the everlasting dryness of the unforgiving sucking earth who knows but to brittle.Mirror soil that reddens and darkens the skin, the eyes of blurry.Step by step the land has crumbled and suffered the experience of our humble origin. The need of conquest, the everlasting migration never to look back

Episode 34 is FINALLY here. Steven and Connor finally take some time to sit down and talk about the 1986 classic Top Gun. They also discuss not wanting to get a tapeworm and how we hope that all the babies born at the same hospital as us on the same day are thriving. The hosts then discuss the importance of the first openly gay active NFL player and why Connor strongly dislikes coastal elites while residing on one of the coasts in question. This week, Connor recommends Red Earth & Pouring Rain by Bear's Den. An album that the hosts attempted to write a screenplay to. Steven recommends the classic Coming Home by Leon Bridges. As always, thank you for listening! Send in your mailbag questions, comments, concerns, insults, or what-have-you to iloveithereihateithere@gmail.com. Follow us on Twitter at @LoveHateItHere and on Facebook and Instagram at @iloveithereihateithere. Please be sure to follow/subscribe wherever you listen to your podcasts. And if you're on Apple Podcast, be sure to give us a review! Thank you for listening! Peace & Love!

A recently publicized cemetery encounter with a man believed to be Israel Keyes is explored; and it leads us to the Deep South, a missing person, and some new answers to some old questions. // Written, researched, and produced by Josh Hallmark. // Featuring: Christina & Dr. Katherine Ramsland // With research assistance by Becca Cline, Shana Wilensky, Michelle Tooker, Andrew French and Michelle Kaszuba. //Music by: William Hellfire, Whithe, Lee Rosevere, Lobo Loco, Radical Face, Chad Crouch, Chris Haugen, Amulets, and Soap&Skin. // This episode was sponsored by: • BetterHelp: BetterHelp.com/TCB for 10% off your first month. • Green Chef: GreenChef.com/90truecrimebs for $90 off your first order. • Washed Away podcast

In this episode, we bring you a conversation with Los Angeles-based and internationally renowned artist, painter, and sculptor Lita Albuquerque. During this past year, when museums around California were closed due to the COVID-19 pandemic, Albuquerque's outdoor installation at The Huntington, “Red Earth,” was among the few pieces of art that visitors could experience. Located near the southern entrance to the Japanese Garden, “Red Earth” features an approximately 6-by-4-foot rock slab coated with red pigment and surrounded by bamboo stalks affixed with copper-colored bands. To talk with Lita about the story behind “Red Earth” and the meanings the piece gained during this past year, we brought in our gardens cultural curator and programs director, Robert Hori.

On this week's episode of The Lost Ogle Show, Patrick and Marisa sat down with Eric Oesch from Red Earth, and Stacy Moore from Visit Shawnee. We discussed the Red Earth Festival this weekend at Grand Casino and what's changed during the pandemic. We also talked about things to do in Shawnee, and how many turquoise rings you should buy this weekend. For more on the Red Earth Festival, check out RedEarth.org. Published 2 September 2020 Visit The Lost Ogle for more Great Content! Find Us Online! Patrick @TheLostOgle Marisa's Website! Randy @JoaquinQuinoa

About Vikram Chandra:My next guest on The One Percent Project is the world-renowned author, professor and tech entrepreneur Vikram Chandra.  His first book Red Earth and Pouring Rain, published in 1995 was received with outstanding critical acclaim. It won the Commonwealth Writers Prize for Best First Book and the David Higham Prize for Fiction. In 2006, he published Sacred Games,  which won the Hutch Crossword Award for English Fiction and a Salon Book Award. In 2016, Sacred Games was chosen by Netflix to be their first original series from India. Vikram has been teaching creative writing for 25+ years first at George Washington University and now at UC Berkley. He is the co-founder and CEO of Granthika Co., a  revolutionary software startup that is re-inventing writing and reading for the digital age. I enjoyed speaking to Vikram about his early life, his work and his entrepreneurial journey.Rapid Fire:Most favorite comic book.I have to say ‘Phantom'- ‘Vetal'Advice that you would like to give Arthur Doyle, Sherlock Holmes?Get more women in there.A book, blog, or an author other than you who you will highly recommend for creative writing?Book, that's a tough one. I actually have a list of like 12 books. I guess, you know, I would say... okay, probably I guess I would say the book that I recommend to everyone is Janet Burroway's ‘Writing Fiction'. It's a wonderful craft book. Absolutely, it covers the field in a really clarify... I mean, a really clear way without dumbing it down.The hardest thing about your job?Well, actually writing every day. So, I have a friend. He's a colleague in the Department of English at Berkeley, Robert Hass, Bob Hass. He's a great American poet. And he has this... this lines that he says, “Writing is hell, but not writing is also hell. The only tolerable state is just having written.”Is there a third season of ‘Sacred Games'?The writer is the last one to know. So, unless there'll be an answer, I won't know. And if I knew, I couldn't tell you because they will send their ninjas after me.